tUnE-yArDs
' music thrives on contradictions, not the least of which is how an album as singular as
W H O K I L L
earned the critical consensus to top
The Village Voice
's 2011 Pazz and Jop poll. The fascinating dualities continue on
Nikki Nack
:
Merrill Garbus
and
Nate Brenner
's third album is also their most musically sophisticated, yet its primal emotions come through even more clearly. It's not that
is more focused than the band's previous work, since it's overflowing with sounds and ideas (and
Garbus
has always had a firm grasp on her aesthetic). "More concentrated" might be a better way of expressing the album's vibrancy and vitality -- and how these songs are even more distinctive and accessible than
' previous music. "Find a New Way" suggests that this evolution wasn't exactly easy, but
Brenner
turn the struggle against writer's block into something joyous, with sparkling harpsichords and beaming choruses channeling liberation and determination in equal measure. The duo did find a new way for
, eschewing the loops that dominated
Bird-Brains
for intricate polyrhythms (
even went to Haiti to study drumming) and collaborating with producers
Malay
John Hill
, who have worked with
Big Boi
M.I.A.
, respectively. Somehow, sacrificing some of
' D.I.Y. ethic brings out more of their music's essence. The R&B elements lurking in their music come to the fore, especially on the dreamily impatient "Wait for a Minute," one of
' poppiest and most emotionally complex songs yet. The duo's ambition is also more apparent on the excellent "Time of Dark," which moves from moody introspection to towering empowerment, while "Look Around" sings the praises of love and self-reliance in a threatening world. Though their new way is on display throughout
, there's a lilt to
' melodies and rhythms that is quintessentially
. She understands and modernizes the power of rhythm-based storytelling, passed down from nursery rhymes, jump-rope chants, and work songs, and gives it a subversive twist. Ominous images like bloody dollars, cracking whips, and drought cloud "Water Fountain"'s musical sunshine, while the child-eating grandparents of "Why Must We Dine on the Tots?" provide a neat, if horrifying, allegory for how the old guard cannibalizes opportunities for young people. Elsewhere, the duo touches on so many issues -- "Real Thing" alone tackles fame, consumerism, and body shaming -- that it could feel superficial if it weren't for the passion coursing through each track.
's awareness is perhaps most refreshing when it involves self-awareness: "Hey Life"'s reflection is profound in its simplicity and offers some much-needed breathing room on an album that borders on sensory overload.
demands, and rewards, repeated listening to appreciate everything
are doing. It's an oddly nourishing album that's as big a step forward for
as
was from
. ~ Heather Phares